Original subtitles

WOMAN: Thank you again so much for coming.

Without further ado, we're proud to present

the legendary Presentation Ha|| Jazz Band!

[cheering]

##

[applause]

[cheering]

##

BEN: New Orleans is magical.

lt's mystical.

It has stories.

It has a history.

And part of understanding our history

is understanding the elements that formed

who we are as a city and as a people.

And part of that is understanding Cuba

and the impact its culture and its history

has had on our music.

If you're from New Orleans,

there's no question in your mind

why this is the place wherejazz was born.

| feel blessed to be born and raised here.

##

[ship horn blows]

BEN: I got my start playing jazz in New Orleans brass bands.

My father played tuba in the Olympia Brass Band

with his very close friend, Harold Dejean,

who was also my godfather.

##

Morning.

- How you doing? - All right.

BEN: In New Orleans, the...

the tuba has always been a part of jazz,

and one of the traditions I grew up with

was decorating the bell of your horn

with the name of your band.

It's an evolution of this tradition

of painting and decorating the bass drum.

This horn is beautiful. lt's gorgeous.

You can just see the years on it.

Can imagine all the notes that came out of this horn,

all the music.

I can already see the distance that the words need to be.

Ben Jaffe is kind of a magical dude.

When you're very young and hanging out

with people that are very old

and absorbing the stories and the history,

it's like an extra generation of information

and of history.

And connection.

To have a connection with the past,

but moving towards the future.

It's like a bridge to another world

##

[cheering]

##

REPORTER: New Orleans people, of course,

are aware their jazz heritage is disappearing,

and some are trying somehow to save

the only art form that is strictly, entirely American.

One effort to save it is here at Preservation Hall,

and a young couple named Allan and Sandra Jaffe started this.

ALLAN: What we're trying to do here

isjust present the music.

The people are sitting on wooden benches,

sitting on the floor.

There's no drinks.

Pretty hot in there, too, in the summer.

People come to hear just the music.

I think the men realize this.

And the men play it the way they want to play it,

and people hear it.

Presentation Hall,

now that's where you'll find all the greats.

And when l was a teenager,

the ones that's still alive,

that's where they're playing now.

And that's where all the people all over the world,

the minute they hit New Orleans,

first place they want to know, where the Presentation Hall is.

BEN: My parents arrived in New Orleans at a...

at a very interesting time in our history.

You know, this was Vietnam,

the Cuban Embargo,

and the civil rights movement.

This was a segregated city, you know.

This was a Jim Crow city. This was the Jim Crow South.

They were from Philadelphia.

That was kind of unbelievableto them.

That was something that they saw in the evening news

and that they read about, you know.

Suddenly, they found themselves at the center of this issue,

this thing that was tearing our country apart.

They discovered this incredible musical tradition, you know,

performed by these pioneers of New Orleansjazz.

It was the bridge that connected everyone,

but it was illegal for blacks and whites

to socialize openly in New Orleans.

Somehow Presentation Hall hovered above that.

And best of my knowledge, Presentation Hall

was thefirst open venue in the South.

#Ah, let us make a record #

# Oh, my Lord #

# Let us make a record #

# For my Lord #

# Come on Let's make a record #

# For my Lord #

# Gonna make a record #

# For my Lord #

# Yes, the Lord #

BEN: My father broke a lot of color barriers.

If you go back and look

at a lot of early photographs of when my dad got here,

he was he was the lone white guy out on the street,

and people respected that, you know?

People took notice on both sides.

That's, you know, why Preservation Hall is here today.

## [serene]

BEN: l was ateenager when my father passed away.

So many people relied on him for many different reasons.

Musicians relied on him

to be the captain and steer the ship,

to see things through.

He left this enormous void in the community.

When you lose someone who plays that role,

it can be frightening.

The day he was buried

was one of the few days I can remember

when the whole city shutdown.

The spectrum of people whose lives he touched

was inspiring.

It was incredibly emotional to see so many people

mourning the loss of my father

and celebrating his life.

## [serene]

What my parents created and my dad carried out

was beautiful.

lt impacted so many people, an entire community.

lt impacted the entire city.

[clicking]

[clapping continues]

[tapping, clapping continues]

[tapping]

BEN: One of my father's lifelong dreams

was to goto Cuba.

The roots of our music are firmly planted in Cuba.

It's what we have in common.

## [piano]

70, 80, 90 years before the birth of jazz,

Cuban music was already a part

of what people were listening to in New Orleans.

## [piano]

Through music,

we'll be able to start a conversation.

Cuba is one of the links.

It's one of the big questions.

And it's been closed to me my entire life.

Thistrip to Cuba...

it's a dream my father had,

and now we have the chance to make it happen.

You know, we're kinda starting to open

our ties with Cuba again, as a country.

I can't think of a better dignitary to send

than the Presentation Hall 'cause it's...

It really is just starting or picking up a conversation

where it left off.

And lfeel like the Presentation Hall

is like out spreading the word.

They're like spreading the gospel.

## [lively]

RONELL: Well, the Cuban bands that I've seen,

it's something very spiritual about their music

and their rhythm, in particular.

Man, it's gonna be exciting to jam with some Cuban musicians.

WALTER: They have a great spiritual culture

that I'm really looking to dig into

because we have a spiritual culture here as well.

BEN: You can hear this very strong Cuban influence

on the music that shaped New Orleans.

You know, Father God, the gates of Cuba

have been closed to American citizens for so very long,

but now this is an opportunity, Father God,

to reach out and love.

And let them know, Father God,

that they, too, are children of God

just as we are children of God.

Help them to understand, O Gracious God,

that we do have a connection through music, Father God.

Music is the thing that draws all men together,

regardless of race, creed, or color, O Gracious God.

And we ask, Father God, that you watch over these men

as they go to Cuba, Father God.

Let no hurt, harm, or danger befall them, Father God.

Help them, Father God,

to be able to intermingle with the people,

and the people welcome and embrace them, O Gracious God.

We just ask, Father God, that you allow them

to return home safely from theirjourney, Father God.

Father, we ask this in Jesus's name.

Amen, amen, amen.

-Amen! -All right.

## [conga]

## [Spanish]

BEN: From the moment we stepped off the plane,

there was something immediately familiar.

I had a sense of what it must have been like

for my parents coming to New Orleans in 1961

for the first time.

GREG: The outreach elements of this trip,

where our band is interacting with Cuban musicians,

is essential not only for the Cubans,

but also for the musicians in the band.

- Ernan! - Oh!

We met Ernan in New Orleans.

He was visiting and came to Presentation Hall.

[Spanish]

BEN: After dad passed away,

l was blessed to have these father figures in my life.

And Charlie Gabriel is one of those people.

When you've played so long, you get that little--

See the little thing there? Mm-hmm.

You see? See there?

That comes from... that comes from the hole.

##

Make sure you get them rings in your fingers, so you...

And then you get accustomed to it being there, you know?

Yeah, yeah, yeah! [laughing]

BEN: Charlie reminds me so much of my dad.

They would have been about the same age.

##

lthink that's why I relate to Charlie so much.

CHARLIE: l have never thought of nothing else but to play music

##

BEN: I heard about this place just outside of Havana,

this social club, almost like a shrine tojazz,

where people come every day to dance and listen to music.

Recorded music is very hard to come by in Cuba.

People who have access to music share it

because it's so precious.

It's such a precious commodity.

How many years have you been here in the Casa De Jazz?

[Spanish]

lt's older than Presentation Hall.

70 years you've had jazz here.

Jazz. Onlyjazz.

[speaking Spanish]

You have music.

Yeah!

[speaking Spanish]

That's the Olympia Brass Band. That's my godfather's band.

Right there.

- Charlie! - Huh?

- Isn't that something? - Yeah, man, that's wonderful.

- Where did they get this? - Down the street.

Man, it go to show you.

This is my godfather.

Ooh la la.

The Olympia Brass Band.

- My godfather Harold Dejean. - Yeah?

Playing saxophone.

And the tuba's his father.

BEN: And my father played tuba.

ln Nuevo Orleans.

Wow, wow, wow.

[Spanish]

All family.

[Spanish]

[laughing]

## ["Tea For Two"]

[laughing]

##

BEN: My parents paved the road early on

for this journey to happen today.

They brought New Orleans beyond New Orleans, you know.

That's an incredible thing.

It brought to prominence these musicians

that were unknown to the world at large, you know.

They gained international acclaim

and were able to experience,

in the twilight years of their lives,

the recognition that they always desented.

[applause]

It's important to have an older generation of culture bearers

to ensure the survival of a tradition.

They're the ones that pass it down to the next generation.

Rickie's a great example of someone

who understands the importance of his role.

It's a pleasure for me to hand it down to these students,

just as it was handed down to me by the older guys.

I learned from older people,

and now I'm the old man that's teaching younger people.

##

Sit down.

Let's play a little second line.

Okay, let's have a little fun.

##

BEN: Not only are you responsible

and have an obligation

to pass your knowledge on to the next generation,

you also have a responsibility to yourself

to continue your own education.

## [piano]

[Spanish]

Yes.

Yes, yes.

- Right? - Mm-hmm.

- Hey. - It's a lot going on.

The mix, the mix. Music.

##

Ah! [laughing]

Next time | see you,

I will learn it the way you play it,

and I want to play it correctly.

[Spanish]

In your music, you play...

##

In New Orleans, our music...

- Yeah. - [vocalizing]

Uh-huh.

Same. lt'sthe same.

Oh, wonderful.

[laughing]

## [piano]

BEN: When you meet someone like Pancho Terry,

you are reminded of how close

the Cuban musical tradition is to Africa.

You can physically see Africa

manifest itself in the instruments and the music,

in the personality of people.

[Spanish]

[laughs]

[rattling]

[singing]

[laughing]

BEN: After being in Havana for a few days,

this young trombone player, Yohandri,

started coming by.

We all felt an instant connection to Yohandri.

He started telling us about the traditions he grew up with.

[Spanish]

BEN: Spirituality and faith are embedded in the music of Cuba.

Yohandri said something very interesting

that we all could relate to.

Music is a way for us to connect with our past

and to give our ancestors a voice.

I've been on the stage,

and I felt the presence of my father, my teachers,

the ones who stood in those shoes before me.

I've felt them guiding me.

##

BEN: Those moments when you are connected

in this spiritual way

to your history and to your past,

are this reminder of what you will be someday.

##

We celebrate with music. We mourn with music.

The music of New Orleans is respected all around the world.

These are some of my musical heroes:

Paul Barbarin on drums,

my all-time favorite trombonist, Frog Joseph,

playing trombone there,

the great Willie Humphrey,

and that's my great-uncle, Lester Santiago, right there.

This is a live recording of Lester Santiago's funeral,

and honored so much by so many.

This is a great tribute to him.

##

BEN: "Presentation" means so much more than

taking a historical item

and putting it on a shelf.

ln Havana, the leaders of Piquete Tipico,

they make pilgrimages to the national archives,

and they copy by hand, note for note,

these old compositions,

and they bring them home for their band to perform

and their students to learn.

[Spanish]

##

[Spanish]

- Okay. - Hola.

MARK: How long has the group been together?

54 years.

- 54 years. - Yes.

[SPANISH]

MARK: Presentation Hall Band has been around for over 50 years.

##

##

Bravo.

##

MARK: The spirit of the music is so similar,

so we werejust ableto go in there and fall right in,

and they were so welcoming just like we are in New Orleans.

We welcome people to come in andjam

and have fun playing music

'cause that's what our music is all about.

[laughter]

REPORTER: By his own account,

Allan Jaffe istoo young, too white.

But it was his idea in 1961 to open up a club in New Orleans.

He called it "Presentation Hall."

I really thought that what someone has to do is...

have a place where musicians could play and people would come

because the music was strong enough to save itself.

The rest is, as they say, history,

or in this case, living history.

Clint embodies all of what it means to be an artist

in New Orleans.

He's able to take the entire history of New Orleans music,

and out comes this incredibly beautiful sound.

## [Chinese]

Oh, just about everything to New Orleans,

on an artistic level,

it's so inspiring to me.

The soundscapes.

The calliope coming off of the river this afternoon isjust--

how it interacts with the fire truck going by,

and the horse and buggies

cutting the rhythm with their hooves,

that's all music.

[whirring]

[Spanish]

[horn honking]

## [Spanish]

- Hey! - [horn honks]

[rooster crows]

[horns honking]

BEN: Daily life in Cuba

comes with a tremendous amount of struggle and obstacles.

In spite of all of these hardships,

music has brought so much joy to so many people.

It's a country that continues to give

this beautiful gift of music,

## [flute]

[Spanish]

##

[laughs]

##

BEN: It was incredible to see musicians

who had to share instruments with one another

or had to catch a bus to another part of the city

so that they could practice on a piano,

or someone whose family gives up basic human needs

so that they can purchase an instrument.

These are incredible expressions of passion.

And that's a powerful statement.

That's a very powerful statement.

GREG: All these instruments

are going to the Amadeo Roldan Middle School

outside of Central Havana,

and we're working with a group called "Horns to Havana"

that has been doing instrument drives

for the last, I think, ten years.

Can you guys get that?

[rhythmic clapping]

Hey!

Hey!

Hey!

Whoo!

BEN: They have such a deep appreciation

for their percussion tradition, their dance tradition,

their singing tradition.

lt inspired usto find a way

to introduce this into our own school system.

[buzzing]

[continues buzzing]

[Spanish]

I've been playing the trumpet the way I play it all my life.

I've never heard a sound like that from buzzing.

I want to get that technique under my belt.

It's really impressive.

We worked for one entire year to raise the funds

to bring the Presentation Hall Band to Cuba,

but we've really been working a lifetime.

On behalf of Preservation Hall,

on behalf of the city of New Orleans,

we'd love to present you with these instruments,

and we know that they will be in good hands.

[Spanish]

BEN: Mark and I went to a school just like this in New Orleans.

We see ourselves in each one of them.

Beautiful.

BEN: It's beautiful to see

how, in Cuba, artists are revered.

Artists are champions of culture...

##

whether it's a paintbrush or words on a paper

or a musical instrument in their hands.

And we have this responsibility as artists

to make things whole.

## [serene]

[Spanish]

[applause]

##

[applause]

Everybody, get up!

Everybody, get up!

##

I'm happy to be able to see those sort of people

get to hear a New Orleans ban loud.

That's the way it should be.

[applause]

BEN: After being in Havana for a few days,

we could feel we werejust beginning

to scratch the surface.

[Spanish]

Musicians kept telling us about this mythical place,

Santiago de Cuba.

Problem is that Santiago de Cuba

is another country in the same country.

The kind of musicthey do there in Santiago de Cuba

is completely different, but it's amazing.

I love that music.

BEN: The more we heard, the more we realized

the musical road was leading us to Santiago.

GREG: 19 hours on a bus,

across a mountain range, one-lane bridges.

The cholera reports really has me a little bit nervous.

BEN: It wasn't until we were in Cuba

that I fully understood this must have been like

thejourney my parents took to understand New Orleans.

RONELL: Seems like the closer we were getting to Santiago,

man, you couldjust feel something in the air.

BEN: lfeel something very familiar here.

The presence of something very old.

WALTER: I'm hearing so much about the African culture

and knowing that's where the essence of it is.

I can't wait to go see what's going on over here in Santiago.

## [guitar]

## [guitar]

## [Spanish]

When we arrived in Santiago,

immediately, you sense that the conga

was the soul of Santiago.

The conga tradition is very similar

to our second-line tradition in New Orleans.

As soon as the conga comes out,

the whole neighborhood comes out.

Each neighborhood has a conga organization.

The most well-known is San Augustln.

[whistles]

[rattling]

##

## [Spanish]

Whoo!

##

Oh, man, that was beautiful.

This what I come to Cuba for. Whoo!

##

##

[Spanish]

BEN: Meeting Almenares, for me, was like meaning Stradivarius.

He's one of the most important luthiers in Cuba.

[laughing]

[Spanish]

His genius is matched only by his humility.

You could see he's lived a difficult,

a very hard, butjoyful life.

When my parents came to New Orleans in the 1960s,

they befriended many of these forgotten, older jazz pioneers

that we're living in poverty.

And like them, you can feel that same joy Almenares receives

from making music.

lt radiates.

lt inspires.

##

- The greatestjoy in my life... - Daddy.

is | get to raise my child in this tradition,

the way I was raised.

It's important to have the respect for our elders,

and the respect for our traditions,

and the importance of community.

She'll have those values

no matter what she chooses to do in life.

She'll carry those with her everywhere she goes.

It'll be a part of her the way it's a part of me,

and the way it's been a part of my father's history.

[Spanish]

## [Spanish]

The rum comes out, the party starts.

[chuckles]

I mean, rinse and repeat.

##

lfeel like I should've been training for this better.

lt's unbelievable.

RONELL: I've only seen that in one other place: New Orleans.

[laughing]

It's hard not to like Ronell,

so he wins people over everywhere he goes.

Lots of times at Preservation Hall,

l have to fight for him amongst many women.

They try to sit on his lap, and I'll come sit.

But that's when I know how much he loves me

'cause he'll say, "You have to ask my wife."

RONELL: Yeah, get permission from my wife. That's right.

BEN: Ronell and his whole family are all musicians.

His great-uncle was Joseph Butler,

who was one of the first bass players

to play at Preservation Hall.

Ronell and his brother,

they had a band when he was in high school

called the Coolbone Brass Band

that had a record contract.

And Ronell was 16 years old and traveling around the world.

Oh, man, this hat. In New Orleans brass bands,

we have a wonderful tradition of wearing--

We call them parade caps, but they're brass band hats.

And the older guys,

they don't do it as much anymore these days,

but the older brass band musicians

to have their hats loaded up with pins all over.

And as you can see I even started going on top

'cause I'm running out of space.

Here's a pin. This one's from somewhere in France.

Barcelona. The Umbria Festival in Italy.

I definitely gotta get one from Cuba.

That's gonna set it off.

When the tuba came out, everybody lit up.

For sure.

##

These little kidsjust tube!

Tubin' the tuba!

##

I wanna try! I wanna try!

[Spanish]

RONELL: Oh, it was so funny.

It was an amazing moment.

##

Big smiles!

[laughter]

##

Their first time ever trying those instruments:

the tuba, the trombone, the saxophone.

[laughter]

- Yeah, baby! - I've seen everything.

RONELL: Then the guys came out and picked up these drums,

and the next day, you know, we got a little beat going.

##

Really, it was our American jazz mixed in with their Cuban style.

##

## [piano]

##

# Keep it, keep it Keep your #

# Keep your head up high #

##

##

BEN: ln Santiago, we experienced

this whole magical spectrum of music.

This one gigantic root has given birth

to all of these musical traditions and masters.

We learned about a legendary percussionist,

Tata Guines.

[drumming]

[drumming]

##

He had spent some time in New York,

performing with Dizzy Gillespie and so forth,

but he never felt at home in the US.

and felt sort of this institutional racism,

and he went back to Cuba.

When Tata died,

he left behind a musical legacy

that will live on for generations.

And today his house is a school,

where people gather and are taught

this incredible percussion tradition.

And his grandson is the director of this place.

[Spanish]

Tata Guines was a spiritual person.

He was very religious and devout.

The music and their percussion

was their connection to a higher being.

And that's how Walter grew up.

My dad, who lived in the house with me, was a musician.

My mom was a singer, so! always had music.

| always had music around me all thetime,

but these Mardi Gras lndians that lived around the corner,

that had this all this African rhythm going, man,

all these syncopations.

And I heard the chanting going on.

[chanting]

Once again, it was them lndians, you know?

Big Chief Rudy, Spy Boy Tim.

Yes, indeed.

In the same beautiful neighborhood

that l was raised in,

we wound up being hit with a crack epidemic,

and I kinda fell in that wreck as well,

till I wound up landing a sentence.

I wound up doing four years.

In that prison gym, they had a set of drums.

That was the only moment I was able to escape from prison,

when I got on those drums.

I often laid on my bunk, looking at the ceiling,

imagining myself playing on stage.

I got out of prison, and I kept clean.

Drums pretty much saved my life, man.

Yeah, drums, drums saved my life.

[clucking]

[Spanish]

I remember something like that one

being in my grandmother's house.

I don't-- I'm not sure what it is

#1? [African]

Africa.

Wow.

Thank you for sharing that with me, bro.

Yeah, brother.

[sobbing]

#1? [African]

The longer we've been here, and the more people we've met,

it becomes more apparent to us...

this is African.

[singing continues]

The same Africans that were sold into slavery.

You know, that's something that's important.

We have to acknowledge that this is part of who we are,

and this is part of our history.

There is something beautiful that emerged from it,

and that beautiful thing was practiced in New Orleans

for hundreds of years in Congo Square.

And people of color were allowed to congregate

and were allowed to practice

religious traditions, musical traditions

blocksfrom Preservation Hall.

That's the root ofjazz.

New Orleansjazz is a very special music.

It's the music of the people of New Orleans.

It was created here to serve their needs,

their very special needs.

A song that can be played at church in the morning,

for people to pray to,

it can be used at afuneral for people to be sad,

or it can be used coming home from a funeral

for them to rejoice to.

There we go.

We're gonna head to Cienfuegos

and meet up with the rest of the band for our last show.

Cienfuegos was founded by families from Louisiana.

I believe they were from New Orleans.

Yeah, I'm not looking forward to the ride.

Bus ride might be a little rough.

- But, um... - But totally worth it.

## [Spanish]

After the Louisiana Purchase,

people from New Orleans who were disaffected,

decided to move south,

and they found this beautiful deepwater bay,

which they named "Cienfuegos."

Cienfuegos was a stronghold for Fidel.

Bautista's people shot up the city.

And I remember walking with my mom, holding her hand

and looking at the bullet holes at the Terry Theater.

ADOLFO: When I was a kid,

my mother always talked to me about the Teatro Terry.

She saw Enrico Caruso there in 1920.

##

## [Enrico Caruso]

ADOLFO: It's all made out of wood.

When there's a performance going on,

it's like being inside of a guitar.

It's like being inside an actual instrument.

## [Caruso]

ADOLFO: It's got a water feature

that's used for tuning the theater.

There's a pool under the stage.

You can fill it or empty it,

depending on the music that's gonna be played there.

This theater means a lot to me personally,

and I'm so happy to have been able to bring Presentation Hall

to play here.

##

- Man! - Wow!

BEN: When we were in Santiago, we met some wonderful people

who are presenting a tradition there,

Tumba Francesa.

And we began to play with them on the streets.

And it was as if, from the heavens,

a song came out of our horns.

[applause continues]

## [percussion]

##

## [Spanish]

# Keep your head up high #

# Keep your head up high #

# Keep your head up high #

# Keep your head up high #

[applause]

BEN: They caught a bus all the way from Santiago

to be here tonight with us.

lt's unbelievable.

We're just separated by a body of water,

but it's like we've known them for several lifetimes already,

you know?

But we're all from the same thing.

We came here on this musical journey,

and we discovered a piece of us

that's been missing for over 60 years.

## [saxophone]

REPORTER: Allan Jaffe is the one who brought the musicians

and the idea of presenting the music together

in New Orleans 25 years ago.

l was working in a department store in Philadelphia,

and I thought there had to be a better life than that somewhere.

| always enjoyed New Orleansjazz.

I thought the food down there was something very special.

I thought that any city that had such good music

and such good food had to be a good place to live.

##

ALLAN: The music was a lot harder to find and to listen to

than I imagined.

But eventually, through a group of people,

we got Preservation Hall started,

and now | get to hear it every night.

BEN: It's been an incredible two weeks.

We've made new friends. Friends for life.

And we want to say thank you

and show our appreciation the only way we really know how,

and that's through music.

And we're gonna do it New Orleans-style.

##

[cheering]

##

[cheering]

[distant singing]

## [clarinet]

BEN: One of the important things we took away

from our experience in Cuba

was we've decided, as a band,

to grow with the world around us,

to grow from the experiences we have,

to grow from the people that we meet,

to grow from the knowledge that we share,

that we give, and that we receive.

Something I've learned from Charlie Gabriel

is that musical conversation cancels out complication.

You really sense that in Cuba

it's important to engage in a dialogue.

You get more out of life

when, at your core,

you believe in the value of building bridges.

And it's something we can all do.

That's it. That's the last one.

There's an incredible parallel in these two journeys--

thejourney my parents took to New Orleans in 1961,

and thejourney the Presentation Hall Band took to Cuba.

My dad would be very proud of us today.

## [clarinet]

##

# Come with me #

# To New Orleans #

#I show you a great time #

#All your dreams will come true #

# A-with me #

# By your side, so #

# Come with me #

# To New Orleans #

# What a city you will see #

#All your dreams will come true #

# In New Orleans#

##

When you come back to Cuba,

you'll need to teach her how to dance.

lwill, lwill.

[laughs]

##

Come back.

# Come with me #

# To New Orleans #

#I show you a great time #

#All your dreams will come true #

# With me #

# By your side #

# So come with me #

# To New Orleans #

# What a city you will see #

#All your dreams will come true #

# In New Orleans#

Oh, yeah, you're right.

[dog barking]

## [tuba]

##

[laughter]

[Spanish]

Whew!

##

# Come on, keep your head up #

# Come on, keep your head up #

# Come on, keep your head up #

# Come on, keep your head up #

# Come on, come on #

# Come on, keep your head up #

# Come on, keep your head up #

# Come on, keep your head up #

#Come on Keep your head up high #

# Keep your head up high #

# Keep your head up high #

# Keep your head up high #

# Keep your head up high #

# Keep your head up high #

# Keep your head up high #

# Keep your head up high #

##